You are on page 1of 29

Making a Garden of Perennials



Copyright, 1912, by

Published June, 1912


• Page
• Introduction1
• Preparing the Beds7
• Winter Mulching20
• Summer Mulching23
• Plant Combinations30
• Weeding34
• Lists of Dependable Perennials:

♦ Of General Excellence36
♦ For Shady Positions49
♦ For Dry Soils50
♦ For Wet Soils51
♦ Alpines, Or Rock Plants51


• A Garden of PerennialsFrontispiece
• Facing Page
• A Colony of German Iris4
• Sweet Rocket Against a Foliage Background12

Making a Garden of Perennials 1

The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan

• Peonies24
• Canterbury Bells and Foxglove30
• Anemone Japonica38
• Phlox Paniculata46
• Swamp Mallow, Gaillardia and Campanula Persicifolia50



The successful garden has a permanent basis. There must be some flowers that appear year after year, whose
position is fixed and whose appearance can be counted on. The group classed as perennials occupies this
position and about flowers of this class is arranged all the various array of annuals and bulbs. These last act as
reinforcements in rounding out the garden scheme.

Perennials are plants that live on year after year if the conditions surrounding them are congenial.

Trees and shrubs are perennials, of course; in these the stems are woody, but we are considering only those
known as herbaceous perennials, having stems of a more or less soft texture that, with the exception of a few
evergreen species, die back each fall, new ones appearing the following spring.

Quite a number of them are too tender to be generally grown as hardy perennials, but those that bloom freely
the first year—like the snapdragon—are treated as annuals, discarding them when the season is ended.

Some biennials—those that do not bloom until the second year, and then die—may be placed among the
perennials and considered of their class, because they seed so freely at the base of the parent plant and bloom
the following year, that their presence in the border is nearly always assured. The only thing necessary to do is
to transplant those not in the situation you desire them to bloom in. Rudbeckia triloba, one of the Black-eyed
Susan type, is not only a good example of this class, but a charming plant that all should grow, and, moreover,
it is a very accommodating one, doing splendidly in semi-shady places, such as north of buildings or under
weeping trees like the rose-flowered Japanese weeping cherry. It is at home in full sunshine where it will form
a broadly rounded, bushy plant about three feet in diameter and, when in full bloom, with its myriad of
black-eyed flowers, it can dispel the worst case of melancholia a dyspeptic ever enjoyed. It requires a good
open, rather light soil to do itself justice. If lifted when in full bloom, put into a ten-inch pot, well soaked at
the roots, and set aside for a few hours away from sun and wind, it will last for two weeks as a porch or house

We hear a good deal about the gardens of our grandmothers, perennial gardens, in which the plants outlived
the flagstones at the house door.

With a few exceptions, perennials are not long-lived. The gas plant, peonies, some of the iris, day lilies, and a
few others, seem permanent.

The usual run require to be taken up about every two or three years and divided. There are two reasons for
this. In the first place, the roots have exhausted all the food within reach and, again, the main crown, from
which spring the blooming shoots, dies from exhaustion. At the outer edge of this decay is generally a fringe

Published June, 1912 2

The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan
of "live matter" which, if taken up, separate from the decayed center, divided, and reset in good soil, will
rejuvenate itself, and soon form a new plant.

In unfavorable sections the Texas gaillardia will lose its crown during winter, and the anxious novice watches
impatiently in the spring for its reappearance, and finally digs it up only to find that while the crown is
decayed the roots are alive, and here and there, on these, new plant buds are forming which, if not disturbed,
would soon make good plants, probably not placed, however, just where wanted. Nurserymen often avail
themselves of this peculiarity and increase their stock by taking up a plant, cutting the roots into small
sections, and growing them separately.

The German iris is one of the most beautiful forms in the flower world and it will flourish in practically any
moderately good soil

We must remember that nine-tenths of the plants we grow are exotic—natives of distant parts and
climes—coming from various atmospheric conditions, and from all kinds of soil. We bring them into our
garden and grow them all under one climatic influence and in the one kind of soil we happen to possess.
Certainly we cannot expect uniform success with all of them. You might as well bring into one room


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan
unlettered natives of distant climes and expect them all to enter into a general conversation. Even in gardens
quite near each other, their permanence varies. I cannot grow, successfully, any of the boltonias, while within
a quarter of a mile of me, in a friend's garden, they grow like weeds. Our soil is the same, and one would
suppose that the climatic conditions were, still the fact remains. I merely mention this so that any novice
finding that he cannot grow some plants as well as others near him, may not feel lonesome in his grief. It is,
however, a good plan, when a plant supposedly easy to grow, fails to materialize, to try it in another part of
your own garden, and if it does not do well there, discard and forget it—the world is full of good things.

Due to the fact of the perennial's habit of annual recurrence the cultural directions are different from the
flowers of but a season's bloom. There are some vital fundamentals that every gardener should know and
some short cuts to success that every one may know. Since perennials, then, form the very kernel of the
garden these are things of first importance in the growing of flowers and will be here elaborated sufficiently to
give the reader an impetus that will carry him at a bound into the inner circle of the garden mysteries.


Do we want a successful flower bed—one that our neighbors will envy—or one in which the plants are
struggling to exist? If we want the former—and who does not?—we must give our plants good pasturage.
They are as fond of the fat of the land as we are, and, since they gladden our hearts with their radiant blooms,
we should treat them fairly. And how? By giving them a good, deep soil for their root-run, not only rich in
food, but loose and friable.

Most all virgin soils contain ample plant food, but the deeper part lacks the result of the action of air, sun and
frost, and the natural humus of decayed leaves and grasses. The plant food it contains is "uncooked"—that is,
not ready for plant assimilation. Therefore, the beds to contain your perennials should be dug at least two feet
deep—three is better—and good garden soil, or soil from a corn-field or any hoed crop where the weeds have
been kept down, used to supplement all but the top layer one foot in depth. All of this applies to tree and shrub
holes also. This top layer of one foot in depth is apt to be in fair condition for immediate use and may be
applied in the bottom of the bed, mixed with either fresh or rotted manure. The soil brought in may be mixed
with old manure and placed on top.

A word about "old manure" is opportune here. Any manure that has been piled up for a year or more in a
weed-infested corner and used on your grounds, especially on your lawn, is the best promoter of exercise I
know of, and can keep you busy all summer dislodging the weeds that spring from the seed its bosom

Of course, in a few sections where the soil is three feet deep—as I am told it is in the Illinois corn belt—all
that is needed is to loosen up the soil to the depth mentioned, and add old manure. If the removal and bringing
in of so much new soil is too harsh on the pocketbook we must proceed in a more economical way. If the soil
is clayey in texture, mix with it sifted coal ashes or sand, and the coarser part of the ashes may be incorporated
with the soil in the lower foot of bed. Remove the top one-foot layer, and set it aside; throw out the bottom
soil to the remaining depth. Break it up finely and, in replacing it, besides the coal ashes or sand, add fresh
strong manure, placing it in horizontal layers—say three inches of soil, and then a layer of manure four inches
thick, when gently tamped down; or make the layers slantingly—say at an angle of about forty-five degrees.
This will add humus to the soil, and allow air and moisture to penetrate it. Then put in the original top layer,
mixing it with old manure. No fresh manure should touch the root of a plant. The fresh manure at the bottom
of the bed will be well rotted by the time the roots reach it. After the top layer is put on you will find the bed
raised up six to eight inches above the lawn, which is all right; it will settle enough in time. At all times break
up the soil into fine particles, otherwise a lump of clay will remain a lump, and is of little value for plant use.


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan
In making beds or shrub holes close to buildings having a cellar, one generally has to remove entirely all the
soil, as that present usually consists of the deeper soil from the cellar excavation, mixed with bricks and
mortar—few flowers root well in brick.

Place your flower beds along the walks, at the house, or along the lot lines, but do not clutter the center of
your lawn with them. An open grass plot adds apparent size and dignity to any place. Give as much open
sunlight as possible. Only early spring bloomers, like the hepaticas and trilliums, grow in what we call
shade—though at the time of their growth and bloom they have the sunlight through the leafless tree branches.
Do not make a bed where the drainage is bad or where water will stand in it during the winter. Tile draining
will improve the bed under almost any circumstances.

Keep away from large trees. A vigorous elm, and a perennial cannot eat and drink out of the same dish and
both grow fat. The perennial will be the one to suffer, mostly from lack of moisture. If you have planted near a
tree or lack of space compels you to do so, take a sharp spade and, each spring, cut deeply all along the edge
of the flower bed nearest the tree, and pull out from the bed all the small roots you can without disturbing the
plants. This will help it for a time, but the elm will invade the bed again and the operation must be repeated.
This applies to beds within eight or ten feet of a tree. For any bed much nearer, the cutting would be apt to
injure the tree, and the growth in the bed would be a poor one.

Where the grounds are large and there is ample room for large beds at the borders, with an open lawn in front,
flowering shrubs may be used as a background for perennials, but the growth of the shrubs requires frequent
removals of the perennials further forward, and a frequent renewal of the plant food which the shrub is
sharing. This method requires more watering on account of the double duty required of the soil.

Avoid fancy or geometrical shapes. They belong, when allowable, to formal gardens where tender bedding
plants are used. Along walks, rectangular beds may be made, but against buildings or boundary lines, while
the rear line may be comparatively straight, the front should be undulating, having long sweeping bays and
promontories. No short curves should exist. They interfere with the lawn-mower. When it is desirable to face
a boundary border with a walk, then, of course, the front line of a bed should be straight.


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan

A background of vines or flowering shrubs is worth striving for, especially to set off white flowers like sweet

Some perennials require to be planted two feet apart, and in some, like peonies, three feet is close enough, for
in time their tops will meet. Eighteen inches apart is enough to allow for the majority and some slender ones
require but one foot. All this should be taken into consideration when determining the width of the bed.

Starting with the proposition that the average plant requires eighteen inches headroom, and that the first row
may be planted six inches within the bed at the front—nine to twelve is better—and the second one back
eighteen inches, and six from the back, we find that with rows two plants deep it requires a bed two feet and a
half in width. This should be the narrowest allowance you should make. In a four-foot bed you can place them
three deep, and one five and a half takes four plants. In other words, you increase your width in jumps of
eighteen inches at a time. While this is not actually necessary, it is best and applies only to the widest and
narrowest points. The intervening curved lines will vary from this measurement but it makes no difference,
because you do not plant in straight rows from back to front as one would cabbages.

In planting at boundary lines or at buildings, the taller ones should be used at the back, but the semi-tall
ones—say three feet in height—should occasionally be brought well toward the front in order to avoid
stiffness and to add irregularity to the general effect. If a house or fence is at the back, flowering vines like the
Clematis paniculata, or C. flammula, or any annual flowering vine, may be used here and there. In detached
beds which may be seen from all sides, the taller plants are set in the middle.

The effect is much better if you plant in groups of four, six, or more of one kind. It relieves the effect of
spottiness. Plant in an irregular manner so as to avoid stiffness or lumpiness, and let one group run in behind
another. If you plant large groups in a pear-shaped form with the narrow stem end slightly curved and let the
larger end of the adjoining pear-shaped group run up to the narrow stem of its neighbor, you will produce the
effect I suggest. The plants you buy, being small, if planted as suggested will not occupy all the ground the
first year. These spaces may be carpeted with annuals for a year or so, or planted with gladioli, lilies or
Hyacinth candicans.

I will not attempt to discuss the fighting and clashing of colors sometimes seen in plantings. The
acknowledged head of the house—she who is probably the one who desires the flower border—is generally an
authority on pleasing color combinations.

Securely staking tall-growing plants is necessary if one desires neatness and effectiveness in the garden. We
care for a plant twelve months in the year for the benefit we derive from its short season of bloom, and to
allow it, then, to be sprawled upon the ground by passing storms seems cruel. Broom handles and ash rods,
half an inch in diameter, used by basket makers, may be obtained from dealers in broom material. Bamboo
canes are useful, as well as the painted stakes sold by seed houses. The stakes should be forced well down into
the soil. Often, in dry weather when the ground is hard, they are not driven down far enough and the first hard
rain softens the soil around them, and, if a strong wind exists, the plant may topple over and carry the stake
with it. In tying them don't hug them as you would a long-lost brother; give them some natural freedom. In
large groups, place the stakes around them, three or four feet apart, and string from stake to stake, running
cross strings through the plants or between them. A single large plant generally requires at least three stakes.
Do it before they are broken down by storms, for once broken it is hard to make a good job of it, especially if
left down for some time. Then the growing ends turn up for light and harden in that bent condition.

If you raise the perennials yourself it is best to grow them one year in a reserve bed, say in the vegetable
garden, because but very few will bloom the first year from seed. Purchased plants should have blossoms the


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan
first year, as they are supposed to be one-year-old seedlings or are divisions of old plants. These may be set
out in the first position upon arrival. Seedlings in the reserve bed may be planted in rows, each row a foot
apart, and the plants six inches apart in the rows; thus planted, they take up but little room and in the early fall
or next spring they may be removed to their permanent quarters.

In transplanting, be sure to expose the roots as little as possible to the sun or drying winds. When plants arrive
with the started foliage looking wilted, sprinkle them overhead and set them in a shady sheltered position for a
while—say an hour. This will generally revive them enough to go on with your planting. If you have reason to
suppose the plants were frosted in transit, set the box in a cool cellar over night. A gradual thawing out may
rejuvenate them, while a sudden thawing is dangerous.

In planting, it often helps an amateur to take a few stakes and place one at each point he desires to set a plant.
If you set six or more stakes, plant six or more plants, pulling up the stakes as you proceed to set out more.
Make the holes in the bed wide enough to allow the roots to go in without crowding, and after filling in the
soil, press it down firmly around the neck of the plant, and over the roots, and water well when all the bed is

When dry, hot weather comes, and you think artificial watering necessary, soak the bed well and then let it
alone for some time, although, in the evening, after a hot sunny day accompanied by a strong, drying wind, if
the foliage looks wilted somewhat, a showering overhead is beneficial. The day after a good soaking it is well
to go lightly over the bed with a hoe or rake and stir up the soil, breaking the crust produced by the watering.
This makes a mulch that will conserve the moisture and protect the roots from the hot sun. Frequent slight
waterings keep the moisture at the top and the roots are then inclined to grow upwards to meet it. If you then
neglect to water, the soil soon becomes dry and the roots suffer.


When winter approaches, if you desire tidiness, cut the tops down (except evergreen-foliaged plants) even if
the frost has not already done this work for you, and cover the bed with well-rotted manure, but it is really
better to allow the tops to remain all winter, especially in the case of hollow-stemmed plants. Well-decayed
manure needs but little going over in the spring, requiring only the removal of the foreign material and the
straw chaff it may contain. What remains is generally the color of the soil, thus unnoticeable and acts as a
mulch during the summer. Fresh manure may be used—in fact it is better, because the plants receive the
benefit of the leachings, which is pretty well spent in old manure. In large grounds there is, however,
considerable labor attached to the removal of this fertilizer in the spring, as it must be taken away for neatness'
sake. While this manure has the greater part of its strength leached out, it is well worth saving for the humus
still in it, and it may be dug in in the vegetable garden, or placed in a large flat pile about two feet high while
still loosely spread. Melons, squash, pumpkins or similar sprawling vines may be grown in it. For each plant
dump about one-half a wheelbarrow of good soil on the top, level and sow in it, or set out plants, if the
seedlings are started elsewhere. The roots of these plants like the loose run the open manure allows. In
extreme dry weather the growing squash or pumpkins should be well watered. In the fall this manure has
become fine in texture and makes a splendid winter's mulch for snowdrops, crocus, etc.

Do not be in a hurry about removing the winter's covering when the first warm days of spring appear. More
damage is done in early spring than in settled cold weather. It is the alternate freezing and thawing that does
the most damage, and the surface water lying over the crowns of plants, which the frozen ground underneath
does not allow to go down. I have seen roots of shallow-rooted plants, Lobelia cardinalis for instance,
growing in clayey soil, lying on the surface of the ground in spring—pried out by soil expansion. Part of the
covering may be removed quite early but enough should remain to shade the ground.


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan


Shallow-rooted plants like the cardinal flower (Lobelia cardinalis) and the tall, fall-flowering hardy phloxes,
dislike the hot sun beating down on their roots. Being surface rooters, and at the same time fond of moisture,
they suffer when the surface soil is dried out. They should have a summer mulch to intercept the radiation of
moisture from the soil.

The spent manure I mentioned as fine for covering bulbs, is splendid for this purpose and as it is of the same
color as the soil, its presence is hardly noticeable; besides it adds humus. Almost any open material may be
used, that will not offend our ideas of tidiness in appearance. Grass clippings from the lawn-mower may be

Some plants are late in appearing above ground in the spring, Platycodons for instance, and there is danger of
their being dug up by impatient amateurs who have either forgotten their presence or imagined they were dead
and the ground vacant. It is well, therefore, to place in the fall some cane stakes at each plant or in a row
around a group of this class to indicate their presence. I also place stakes at each lily as they generally occupy
open spaces between perennials, and I seldom wish to disturb them if it becomes necessary to remove one of
the perennials.

With few exceptions—peonies and the gas plant, for instance—perennials need dividing and resetting every
two or three years, which should be done in the early fall or early spring, but never when the soil is very wet,
because in the subsequent manipulation of the soil to replenishing its food supply, it should be dry enough to
break up into fine particles. The Japanese anemone should be replanted only in the spring. It is in bloom and
in active life in the fall. The best way to proceed is to work one section at a time—say a ten-foot strip. Cut
back the foliage, take up the plants and lay them aside, covering with burlap or some material to keep the sun
and wind from their roots. Then dig the bed up, deeply, and add some well-rotted manure, rake smoothly and
replant. While it is probably best not to set the same plants back in the same position occupied before, it may
be done, for if the soil has been well worked up it is apt to have changed its position. Then take up another
section and do the same. In the meantime all large roots are divided. Some may be pulled apart, but more
often they have to be cut through with a sharp spade or a butcher knife. Discard all evidence of decay and use
only the healthy outer rim, possessing well-developed roots. They generally show the stalk buds for next
year's growth. Three to five of these buds will make a good plant. Sometimes, in the case, perhaps, of a
cherished but not over-robust larkspur, you find part of the original root decayed, but if it has a few good roots
attached to it, dust powdered sulphur on the decayed part—it often checks decay—and you may
eventually restore your pet to a healthy condition.


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan

Peonies have the advantages of few enemies, long and vigorous life, beauty and, in most varieties, delightful

If you want a delightful recreation and lots of fun, and would like to possess some plant producing a flower
entirely new in color or form, and, certainly in your estimation finer than any your rival neighbors have ever
seen, make a reserve bed in some sunny spot and raise hybrid delphiniums. In fact any one possessing a good
collection of perennials should have a reserve plantation to draw from in order to fill up gaps that will be
found in the main bed after any hard winter. It is especially useful for keeping up a stock of that charming but
short-lived perennial, the columbine (Aquilegia), which seldom can be depended upon after the second year. I
am speaking of the finer forms.

These hybrid delphiniums, or garden larkspur, possess the blood of two or more species and as a result are
inclined to "sport," producing flowers of various forms and colors, entirely different from those of the parents.
The word "sport" as used by gardeners is applied to any plant that displays a marked contrast in foliage,
flower, form or habit of growth, from the type or normal aspect of the original species. The well-known
golden glow is a good example, being a double form of the single-flowered Rudbeckia laciniata, a tall
member of the Black-eyed Susan family, and known as one of the coneflowers. The flower head of the type is
composed of two parts—the outer row of yellow "ray florets," which is not a part of the flower proper,
except that it might be likened to the fringe that borders a curtain, and the dark brown cone in the center,
which is composed of numerous minute, individual flowers like the dandelion, each perfect and capable of
producing seed. Nature is slyly freakish at times, and in this instance she changed the individual flowers into
ray florets. Fortunately some observing flower lover saw this one original plant, for undoubtedly the freak
occurred in one plant only, and transplanting it to his garden, eventually gave to the floral world the now
common golden glow. If not noticed by some one, the plant would have lived its allotted term and died
unknown to the world, for it produces no seed.

The delphinium sports into various forms of flower, color and shape—the tones of color being a
mingling of blues, pinks and mauve, some in the most lovely combinations imaginable. They will all bloom
the first year from seed if sown in February or March in a greenhouse or hot-bed, but will not all bloom at
once, so that for at least a period of one month, new blooms are opening each day. One's main pleasure is in
expectancy. You are always looking and hoping for something better, and you generally get it. It is best, when


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan
a plant does not produce a flower up to grade, to dig it up and discard it, but those that are good should be
marked in some manner to identify them. A label placed at their side will do, but the better way is to get some
small sheet-lead tags, bearing stamped-in numbers or letters. Attach to wire pegs ten inches long and force
down near the plant, recording its number in your "Garden Book" with a description of the flower. This
enables you at any planting time—spring is the best for delphiniums—to plant in groups of light
blues, dark blues, etc. You may be undecided sometimes as to whether you consider a plant good enough to
keep or not. In this case keep it, but mark it a "hold-over." Some plants do better the second season. They may
be sown outdoors in May, but will hardly bloom the same year.


Many combinations may be used whereby a certain area may be made to produce a double crop of bloom, and
thus prolong the flowering season within that area. Peonies, which are planted two and a half to three feet
apart, may have the Lilium superbum, the later varieties of gladiolus, or Hyacinth candicans planted in
between them; the last two should be taken up each fall as they are not hardy in all sections. The lilies will
require resetting every few years, as they travel around in their new growth, and may invade the peony roots.
These will flower above the peony foliage. Fall is the best time to plant any lily.

The shooting star (Dodecatheon media) may be planted between the spreading dwarf plants of that admirable
bell flower (Campanula Carpatica). The bell flowers may be planted eighteen inches apart and, in the spring,
when the shooting stars are up and in bloom, the foliage of the campanula is hardly in evidence, but during the
summer it occupies all the space between them.


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan

There are interesting combinations of flowers not only for succession of bloom but for simultaneous bloom, as
Canterbury bells (Campanula medium) and foxglove (Digitalis)

After flowering, all that part of the shooting star above ground turns brown, dies back and disappears to return
again next spring.

The Virginia bluebell (Mertensia Virginica) is another charming plant of the same habit, and as it is worthy of
cultivation in groups, it often becomes a question where to place it so that the bare ground it leaves behind is
not an eye-sore. Besides colonies I have established in my ravine, where the overhanging underbrush hides its
absence later on, I grow it under large bushes of forsythia. Both bloom at the same time and the pink buds and
open blue bells of the Mertensia, when seen through the fleecy mass of the golden bells of the forsythia, make
a charming picture. After flowering, the forsythia hides the disrobing Mertensia with its heavy sheet of

Some perennials—the bleeding heart and the perennial poppy—have ragged foliage after
blooming and require some tall bushy plant to be placed in front and around them to hide their shabbiness.
Strong-growing perennials, asters or the biennial Rudbeckia triloba, are good for this purpose.


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan
Some instances occur where a low hedge of perennials might look well, for instance in a small yard where all
the lines are formal and a straight walk leads from gate to house. A floral hedge might be placed at each side
of the walk by making beds eighteen inches to two feet wide and deep. The best perennial hardy plant I know
for this purpose is the gas plant (Dictamnus fraxinella), which, when once established, remains a joy, almost
forever. Some people are still enjoying the blooms of plants set out by their great-grandmothers. This plant is
slow in increasing its size, but a row planted twelve inches apart will in time make a compact hedge with a
dark green, lustrous foliage, over two feet tall and fully as broad. The flower spikes are borne well above the
foliage, some pink, deeply veined a darker hue, and some white. A mixture of the colors is desirable. On
account of the slow habit of its increase, the bed will look scantily furnished for a few years. This can be
remedied by growing at each side of the row of plants any spring-flowering bulb, or by carpeting in summer
with sweet alyssum, sowing seeds in the bed. Any low-growing annual will do, but it must be low-growing or
it may injure the Fraxinella.


Paradoxical as it may seem, the weed is the best friend the farmer has because it compels him to cultivate his
land in order to exterminate the intruder. Cultivation keeps the soil open to air and moisture and conserves the
latter. It is best, therefore, to go over lightly with a hoe the day after a heavy rain or a good watering.

The time to weed is before you see the weeds, but if they do appear, don't run away from them. When none
are in sight, the chances are that upon microscopic examination, a velvety fuzz of green would be discovered.
These are minute weed seedlings, but yet slightly rooted, and easily treated by simple dislodgment. A hot,
windy day is a good time to hoe between your plants, because the wind and sun kill the uprooted weeds in a
short time. They dry up, and there is but little to remove. On a damp cloudy day if a disturbed bit—no
matter how small—of the pestiferous couch grass rolls near the base of a plant and remains there, it will
send down its roots among those of the plant, and it is almost impossible to get them out without taking the
plant up.


It is useless to attempt to name and describe all the good perennials that may be grown, but there are some that
seem to do well in all sections and it may be well to call attention to some of them.

Anchusia Italica—Italian Alknet

One should grow the Dropmore variety, or possibly Perry's variety, a new form just introduced. I would not
have included this plant in the list, because it does not winter well and a stock of seedling plants should be
grown each year and wintered in a coldframe, did it not present such an airy, open-headed plant covered with
its gentian-blue flowers for a long time. A good blue is a rare color in the garden. A group of these should be
planted about two and a half feet apart and at the rear, as they grow five to six feet in height.

Asters (hardy)

The so-called aster, grown by florists, and in general gardens, is not a true aster, but is known botanically as
Callistephus Chinensis, introduced from China in 1731, and is a hardy annual. Why it received the common
name of aster I have never been able to find out. The true aster is named from its star shape, and in England is
much prized and is called the Michaelmas Daisy, because they are in full bloom at the time of the feast of St.


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan

Michael. As they grow wild nearly everywhere in the States, they are not grown so much in gardens here. All
good catalogues list quite a number of good varieties for one to choose from. Being tall they should be planted
at the rear.

Aconitum—Monk's-hood, Helmet Flower

This plant, the roots of which are poisonous, should not be grown where children are apt to get at its roots, and
when transplanted care should be taken not to allow any of its small, beet-like tubers to lie around, the surplus
being burned. They grow about four feet high, blooming in the latter part of summer. A. autumnale and A.
Napellus are among the best.

Anemones—Wind Flower

Anemone Pennsylvanica is a native, growing a little over a foot in height, producing in profusion fairly large
white flowers in July and August. Having a "woodsy" look, it seems at home in semi-shaded positions, where
it does well, but will thrive in full sun. The king of the tribe, however, is the Japanese variety, A. Japonica,
especially the variety Alba, with large, showy, pure white flowers, blooming late in the fall, often after the
first slight frost, and at a time when all others are gone. For this reason they should be planted where they may
be seen from some house window, and thus be enjoyed when it is too chilly to be out-of-doors. If planted
eighteen inches apart, cup and saucer Canterbury bells may be planted in between them and removed when
through blooming. The anemones do not require the room before that.


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan

One of the brightest stars of the garden in late fall is the Japanese anemone

Arabis Alpina—Rock Cress

Rock cress is an early spring, white-flowering plant. Its low-growing habit makes it suitable for edging. In the
fall plant Chionodoxa Luciliæ in between them. This is a blue-flowering bulb, hardy, cheap and in flower at
the same time the rock cress is.


These have been mentioned in connection with the article on reserve beds. The Rocky Mountain columbine
(A. cærulea), a bright blue form, is probably the handsomest one of the family, but it seldom lasts long. The
golden columbine (A. chrysantha) seems to be the sturdiest of the group and lasts several years. It belongs to
the long-spurred class, all of which are good.

Bocconia cordata—Plume Poppy

The plume poppy is a stately plant, attaining a height of seven to eight feet, bearing in July and August
terminal panicles of creamy white flowers having large, indented glaucous foliage. It has one fault, however;


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan

it spreads rapidly and soon takes possession of the whole bed, and therefore should be in an individual hole of
its own. The plantings are sometimes made in large bottomless tubs, sunk in the ground.

Campanula—Bell Flower

Nearly all of this family, as well as the allied Platycodons, are good. They are slender, upright growers, as a
rule, but C. Carpatica, already mentioned in the text, grows but eight inches tall. The species macrantha
persicifolia, rotundifolia (Blue Bells of Scotland) and Trachelium, are the most reliable among the group. The
cup-and-saucer, and the chimney bell flower, are biennials, blooming but once, and have to be wintered the
year prior in a coldframe.


Like an open sunny position. C. macrocephala is the best, bearing thistle-like golden yellow flowers.


The species lanceolata, and C. grandiflora, have rich golden flowers of pleasing form, splendid for cutting.
They grow about two feet high and bloom all summer if not allowed to go to seed, but seldom last over the
third year.


Have already been discussed. All the named varieties are good, especially Belladonna. See page 26.

Dictamnus—Gas Plant

Fully described on page 32.


The form usually grown is treated as a biennial, and with me, must be coldframed the first year. Ambigua or
grandiflora is a perennial having pleasing pale yellow flowers, and is a comparatively long-lived plant.

Echinops—Globe Thistle

This is a tall, interesting plant with foliage somewhat like a thistle. E. Ritro is the best. Its peculiar flower
head consists of a ball about an inch and a half in diameter, from which spring, in close array all over the ball,
minute flowers of a deep metallic blue.

Eryngium—Sea Holly

A plant somewhat similar in appearance to the Echinops, but smaller in all its parts. E. amethystinum is the
best, having small globular flower heads of an amethystine blue color, this color also extending quite a way
down the flower stems.


Two forms are in the market—E. ageratoides, bearing numerous small white flowers in late summer,
and E. cœlestinum, with light blue flowers similar to the ageratum. Both are good.


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan
Funkia—Plantain Lily—Broad-leaf Day Lily

I consider F. subcordata grandiflora the best of this group. In time a single plant, if not crowded, will make a
mound of green foliage, looking as if an inverted bushel basket were shingled with broad overlapping foliage,
above which, in August, spring pure white, sweet-scented lily-like flowers. It will stand partial shade. If
planted in groups they should be placed two and a half to three feet apart. Tulips may be planted between

Gaillardia—Blanket Flower

The perennial forms produce much handsomer flowers than do the annuals. All of our garden perennial forms,
including grandiflora, are varieties of G. aristata, and, being natives of Texas, are not always hardy in the
Northern States.—See page 4 in the text. It is a rather sprawling plant, growing naturally some two feet
high, and hard to stake, but may be pegged down. Use common long hairpins. It requires an open situation in
full sun, and thrives best in a sandy soil, well drained.


Quite a hardy border plant, rather low in its foliage, but throwing its flower stems up fully eighteen inches,
blooming more or less all summer. G. coccineum, with scarlet flowers, and G. Hederichi, are both good.

Hesperis matronalis—Rocket

An admirable plant for use where most other plants would fail. It does fairly well in semi-shady places, at
base of shrubs and in between them in open spots. Plants grow three to four feet tall, of bushy form when
treated well, bearing pinkish flowers in June and July. There is a white form.

Hemerocalis—Yellow Day Lily

All are good, strong growers with narrow iris-like foliage, producing flowers in tones of yellow. H. flava, the
sweet-scented, deep lemon-yellow-flowered form, is the best and must not be confounded with the
coarser-flowered H. fulva, the tawny day lily.


All the mallows are good, from the "crimson eye" to the new mallow marvels, moderately late,
upright-growing and hardy. The colors run from pure white to pinks and reds.

Inula ensifolia

A low-growing very hardy plant bearing freely yellow daisy-like flowers, always presenting a neat


On account of the prevailing hollyhock disease—a disease of the foliage hard to combat—it is
best to grow one-year-old plants, as they are less affected than the older ones. The singles are the most



The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan

This is a large group, from the bulbous Spanish and English iris, which bloom in June and then die down to
reappear next season, and may therefore be planted in open spaces between other plants, to the magnificent
Japanese iris, I. Kæmpferi. This latter one is somewhat fickle and does not last long. The best for general
planting are the German, cristata, pumilla and Sibirica varieties. Pallida Dalmatica is exceedingly fine.

The tall-growing hardy phlox is a garden mainstay through August, September and October. Beware of the
magenta colorings

Lysimachia clethroides—Loose-strife

An excellent plant in damp soils.


Every one should have them, including the early-flowering red P. officinalis, and the later ones. Try a few tree
peonies—P. Moutan. They are grafted on the ordinary form, so destroy all suckers that come from
below the union.


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan


The tall-growing hardy phlox should be in all gardens. It is permanent if taken up every three years and
divided. Strong "cutting" plants give the finest blooms. Avoid magenta colors. The new salmon-pink
Elizabeth Campbell is fine; on light soils, well drained, the creeping forms are desirable.


The hybrids of P. roseum have handsome, daisy-like flowers in white and various shades of pink, up to red, in
single and semi-double forms, but they seldom live long. A raised bed suits them best. P. uliginosum, the
giant white daisy, is fine in damp situations.


This genus includes the well-known golden glow and R. nitida var. Autumn Sun, growing five feet high. It
bears attractive primrose yellow flowers. The giant purple coneflower, often classed as a rudbeckia, is really
an Echinacea, growing three or more feet tall, bearing reddish purple flowers and is very attractive in groups
bordering a woods or shrubbery belt, presenting a rustic aspect and remaining a long time in bloom.

Thalictrum—Meadow Rue

The white form of T. aquilegifolium is a very handsome plant, doing fairly well in open shade, flowering in
fluffy masses of white.


These are all good, but V. longifolia subsessilis is by far the finest of the taller growers, reaching a height of
three feet, and bearing long slender spikes of deep blue flowers.


• Aconitum—Monk's-hood
• Actæa spicata—Baneberry
• Amsonia
• Anemone Pennsylvanica—Wind Flower
• Convallaria—Lily-of-the-valley
• Dielytra—Bleeding-heart
• Ferns
• Funkia—Plantain Lily
• Hepaticas—Liver Leaf
• Thalictrum—Meadow Rue
• Trillium—Wake Robin
• Mertensia Virginica—Virginia Blue Bells


• Asclepias tuberosa—Butterfly Weed


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan

• Aquilegia Canadensis—Canadian Columbine

• Aquilegia alpina—Alpine Columbine
• Gypsophila paniculata—Baby's Breath
• Gaillardia—Blanket Flower
• Geranium sanguineum—Cranes-bill
• Helianthus multiflorus, fl. pl.—Double Mexican Sunflower
• Inula grandiflora—Flea Bane
• Inula ensifolia
• Saxifraga crassifolia
• Sedums—Stonecrop
• Tunica saxifraga

Crimson-eye hibiscus or swamp mallow, blooming in August and September


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan

Gaillardias are at their best in the perennial form and thrive in a sandy soil


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan

Campanula persicifolia, one of the best varieties in the bell flower family


• Hibiscus Moscheutos—Swamp Mallow, and all Mallows

• Iris pseudacorus
• " Sibirica—Siberian Iris
• " lævigata—Japanese Iris
• " prismatica
• Lilium superbum—Turk's-cap Lily
• Lobelia cardinalis—Cardinal Flower
• Monarda—Bergamot—in variety, Rose
• Lythrum Salicaria—Loose-strife
• Lysimachia clethroides—Loose-strife
• Polygonum cuspidatum—Giant Knot-weed
• Spiræa—dwarf herbaceous form in variety


• Achillea tomontosa—Wooly Yarrow


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan
• Arabis albida—Rock Cress
• Campanula Carpatica—Carpathian Harebell
• Coronilla varia—Crown Vetch
• Geum coccineum—Avens
• Gypsophila repens—Baby's Breath
• Inula ensifolia—Flea Bane
• Phlox amœna, in variety—Creeping Phlox
• Sedum, in variety—Stonecrop
• Tunica saxifraga
• Veronica circæoides—Speedwell
• Yucca filamentosa—Adam's Needle

End of Project Gutenberg's Making a Garden of Perennials, by W. C. Egan


***** This file should be named 24671-h.htm or *****

This and all associated files of various formats will be found in:

Produced by The Online Distributed Proofreading Team at (This file was produced from images
generously made available by The Internet Archive/American

Updated editions will replace the previous one--the old editions

will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan





To protect the Project Gutenberg-tm mission of promoting the free

distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at

Section 1. General Terms of Use and Redistributing Project Gutenberg-tm

electronic works

1.A. By reading or using any part of this Project Gutenberg-tm

electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. "Project Gutenberg" is a registered trademark. It may only be

used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"

or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at

1.E.2. If an individual Project Gutenberg-tm electronic work is derived

from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or

1.E.3. If an individual Project Gutenberg-tm electronic work is posted

with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm

License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan

1.E.5. Do not copy, display, perform, distribute or redistribute this

electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (,
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing

access to or distributing Project Gutenberg-tm electronic works provided

- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any

money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan

of receipt of the work.

- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm

electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.


1.F.1. Project Gutenberg volunteers and employees expend considerable

effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.


of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal


defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan

1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of

electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at

Section 3. Information about the Project Gutenberg Literary Archive


The Project Gutenberg Literary Archive Foundation is a non profit

501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.

Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at

For additional contact information:

Dr. Gregory B. Newby
Chief Executive and Director

Section 4. Information about Donations to the Project Gutenberg

Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide

spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating

charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit

While we cannot and do not solicit contributions from states where we

have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make

any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other


The Project Gutenberg eBook of Making a Garden of Perennials, by W. C. Egan
ways including including checks, online payments and credit card
donations. To donate, please visit:

Section 5. General Information About Project Gutenberg-tm electronic


Professor Michael S. Hart is the originator of the Project Gutenberg-tm

concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed

editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Most people start at our Web site which has the main PG search facility:

This Web site includes information about Project Gutenberg-tm,

including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.